568 AIC 2011 MIDTERM MEETING, ZURICH – INTERACTION OF COLOUR & LIGHT IN THE ARTS AND SCIENCES – PROCEEDINGS

PERCIFAL method in use: Visual evaluation of three spaces Barbara MATUSIAK,

1 Karin FRIDELL ANTER,

2 Harald ARNKIL

3 and Ulf KLARÉN 2

1 Faculty of Architecture and Fine Art, Norwegian Univ. of Science and Technology

2 University College of Arts, Crafts and Design (Konstfack), Stockholm

3 Aalto University School of Art and Design, Helsinki

AbstractIn this paper we describe the use of PERCIFAL method for visual registration and evaluation of

three architectural spaces in Trondheim: an atrium, a skylight room and a room lit by electrical

light. A group of subjects visited those three rooms in August 2010. They were asked to make a

spontaneous verbal evaluation as well as evaluation with the help of quality descriptor differentials

!"#"$%&"!'()'*+"',-./0123'&4%5"6*7'8"9&(*"'!(::"4")6"9';"*<"")'9=;5"6*9>'(*'<?9'&%99(;$"'*%'@)!'a strong correlation between surface illuminances, the score at Light level scale and the impression

%:' %&"))"99A9&?6(%=9)"99' #"49=9' !?4B)"99AC$%%D()"997' 1=4*+"4D%4">' (*' <?9' &%99(;$"' *%' @)!' ?'correlation between the occurrence/absence of chromatic colors in the room and the impression

of the room being serious and severe versus lively and playful.

1. Background PERCIFAL Perceptive Spatial Analysis of Colour and Light is a subproject within the Nordic

research project !"#$%&!'( )*+,-( ./0/*1( ,-2( 03456( 78-659737:( 6/;,127( ,( ./5919-6( <902( /=(knowledge. SYN­TES is funded by the Knowledge Foundation, Sweden. The project grew from

?' )""!' *%' 9+?4"' B)%<$"!C"' ?)!' *%' @)!' ;"**"4' <?E9' %:' 6%DD=)(6?*(%)' ?64%99' !(96(&$()"9' ?)!'research areas that deal with the human experience of light and colour in space. For further

presentation of the PERCIFAL method see Arnkil et al.

2. MethodThree architectural spaces in Trondheim, Norway, were chosen for evaluation: 1. Atrium, 2.

Skylight room and 3. Electrical light room. The Atrium is a part of the hotel building situated in

Trondheim Centrum and called Porthuset. The courtyard is nearly square in plan (11 x 12m) and

has a height of 5 storeys. The courtyard is the secondary daylight source for apartment rooms

adjacent to it. The glazed roof covers the whole courtyard, some of the window panes at the roof

are made of coloured glass; this contributes to a nice play of coloured and uncoloured daylight at

the facades of the courtyard, especially during sunshine hours. Daylighting is supplemented by an

?4*(@6(?$' $(C+*()C' 9E9*"D' *+?*' 6%)9(9*9' %:' "#")$E' !(9*4(;=*"!>' 9&+"4(6?$' $?D&9' <(*+' 6%D&?6*'F=%4"96")*' $(C+*';=$;9>'+?)C()C'?;%=*'GD'%#"4' *+"'F%%47'H+"' 4%%D' (9' ?$9%'6+?4?6*"4(I"!';E'?'9*4(!")*'6%$%=4'6%D&%9(*(%)'<(*+'9*4%)C'6%$%=4'6%)*4?9*9>'9""'@C=4"9'J'?)!'K7'

The Skylight room is the largest and most spectacular room in Kunstmuseum, the Art

Museum in Trondheim. There is a linear, large and elegantly designed skylight in the room that

nearly dominates the visual environment in the room. It has a specially designed internal sun

shading device fastened to a steel construction that has a similar shape to the skylight, but is

oriented downwards. Different types of lamps (spots and wall­washers) are fastened around the

569AIC 2011 MIDTERM MEETING, ZURICH – INTERACTION OF COLOUR & LIGHT IN THE ARTS AND SCIENCES – PROCEEDINGS

skylight, but they were not switched on during the visit. The colours chosen on the room surfaces

?4"'9%$"$E')=?)6"9'%:'C4"E>'9""'@C=4"'G7H+"' -$"6*4(6?$' $(C+*' 4%%D' (9' ?' &?4*' %:' *+"' "L+(;(*(%)' ?4"?' ()' *+"' M%4!")@"$!9B"'

Kunstindustrimuseum, a museum of applied arts in Trondheim. The room has some high and

narrow windows that are covered by sun­proof textile roller blinds. However, there are gaps

between the blinds and the walls, which became very bright during the visit. The room is lit by

halogen light spots distributed over the space and giving light precisely where it is needed. The

6%$%4'6%D&%9(*(%)'()'*+"'4%%D'6%)9(9*9'%:'<%%!")'F%%4>'!?4B'C4?E'6"($()C'?)!'<+(*"'<?$$9>'"L6"&*':%4'%)"'*+?*'(9'&?()*"!'()'C4"")7'NO""'@C=4"'PQ7

Figure 1and 2. Atrium in the Porthuset, photos Kine Angelo.

Figure 3. Skylight room and 4. Electrical light room, photos B. M.

A group of 30 subjects visited those three rooms in August 2010. The participants were: master

students of architecture (n=15), a group of electrical engineers (n=13) and architects (n=2). They

were asked to make a spontaneous verbal evaluation as well as evaluations with the help of

quality descriptor differentials developed within PERCIFAL: Light level, Light distribution,

!5,2/;7(,-2(03456(7>/67?(@0,19(,-2(7>9.*0,1(19A9.63/-7?(B3456(./0/*1?(!*1=,.9(./0/*1?(C-691,.63/-(between space, objects and people. During the same visit the illuminance was measured in a few

places in the room and colour sample matching was carried out.

570 AIC 2011 MIDTERM MEETING, ZURICH – INTERACTION OF COLOUR & LIGHT IN THE ARTS AND SCIENCES – PROCEEDINGS

3. Results Spontaneous linguistic description:

1. Atrium: comfortable/relaxing (13), colourful (9), open (8), playful/alive (7), high/tall (7),

6%)*4?9*'#?4("*E'NPQ>'"L6(*()C'NGQ>'D%!"4)'NGQ>'<?4D'NKQ>'F?*'NKQ72. OBE$(C+*'4%%DR'9&?6(%=9A%&")'NJSQ>'$(C+*A?"4(?$'NJPQ>'6%D:%4*?;$"A6%D:7'$(*'NJGQ>'$?4C"A+(C+'NTQ>'9?64"!A9"4(%=9'NPQ>'"L6(*()C'NGQ>'6%$!'NGQ>'6?$D'NKQ>'4"$?L()C'NKQ

3. Electrical light room: dark/gloomy (30), calm/quiet (12), cosy/comfortable (6), uncomfortable

NSQ>'DE9*"4(%=9'NPQ>'9%$"D)'NPQ>'"L6(*()C'NGQ>'!(9%4!"4"!AD"99E'NKQ>'U=("*'NKQ>':""$9'9D?$$'NKQ>'?4*(@6(?$'NKQ

The colours in the respective rooms registered by colour matching with NCS samples are:

1. 2*4(=DR'!?4B'C4?E'9*%)"'O'VSWWXM'?)!'4"!'6?4&"*'O'GSYWXZVW.'%)'*+"'F%%4>'!?4B'&?$(9?)!"4'O'VWJWXZ[W.'NXZVW.Q>'<+(*"'&$?9*"4'O'WSWWXM'?)!'C4"")'&?()*"!'<?$$9'OPWSWX\[WZ'%)'%)"'9(!"'?)!'OKWGWX\[WZ'%)'*+"'%&&%9(*"'9(!"'%:'*+"'4%%D7

2. OBE$(C+*'4%%DR'<+(*"'&$?9*"4'<?$$9'O'WSWWXM>'$(C+*';$="'D?4;$"'*($"9'%)'*+"'F%%4'O'KWWKX]'?)!'?4%=)!'!%%49R'O'JWWKX]

3. -$7'$(C+*'4%%DR'<%%!")'F%%4'O'PSWKXZ>'C4?E'6"($()C'O'YWWWXM>'&$?9*"4'<?$$9'&?()*"!'<+(*"'O'JSWWXM>'%)"'&?()*"!'C4"")'O'[WKWX\>';$?6B'6=4*?()9'O'TWWWXM7

The illuminance measured during the visit was:

1. Atrium: 1750 – 2300 lux on walls, 1300 – 6800 at tables, 920 lux at the counter

2. OBE$(C+*'4%%DR'JKWW'^'JYSW'$=L'%)'<?$$9>'JGSW'^'KSSW'%)'*+"'F%%43. El. light room: on white walls 150­200 lux, 800 – 1050 lux at the center of light spots and

objects, 50 lux on the green wall, 300 – 800 lux on the table 1500 – 2000 lux on the daylighted

reveals.

The evaluation results for some of quality descriptors used in the PERCIFAL project are presented

()'@C=4"9'S'?)!'Y_'['9*"&9'!(::"4")*(?$7

Figure 5. Evaluation results for Light level and Light distribution.

Figure 6. Evaluation results for Temperature and Unity of coloration

20/'^'`08H-.`'`--H0M\'KWJJ>'ab.0/c'^'0MH-.2/H0dM'd1'/d3db.'e'30\cH''0M'Hc-'2.HO'2M8'O/0-M/-O3

3. Results Spontaneous linguistic description:

1. Atrium: comfortable/relaxing (13), colourful (9), open (8), playful/alive (7),

+(C+A*?$$'N[Q>'6%)*4?9*'#?4("*E'NPQ>'"L6(*(ng (3), modern (3), warm (2), flat (2). 2. Skylight room: spacious/open (15), light/a"4(?$' NJPQ>' 6%D:%4*?;$"A6%D:7' $(*' NJGQ>'$?4C"A+(C+'NTQ>'9?64"!A9"4(%=9'NPQ>'"L6(*(ng (3), cold (3), calm (2), relaxing (2)

3. Electrical light room: dark/gloomy (30), calm/quiet (12), cosy/comfortable (6),

=)6%D:%4*?;$"' NSQ>'DE9*"4(%=9' NPQ>' 9%$"D)'NPQ>'"L6(*()C' NGQ>'!(9%4!"4"!AD"99E' NKQ>'quiet (2), feels small (2), artificial (2)

The colours in the respective rooms registered by colour matching with NCS samples are:

1. Atrium: dark gray stone S 8500­N and red carpet S 3560­Y80R on the floor, dark

palisander S 8010­Y70R (­Y80R), white plaster S 0500­N and green painted walls

OPWSWX\[WZ'%)'%)"'9(!"'?)!'OKWGWX\[WZ'%)'*+"'%&&%9(*"'9(!"'%:'*+"'4%%D7'2. Skylight room: white plaster walls S 0500­N, light blue marble tiles on the floor S

KWWKX]'?)!'?4%=)!'!%%49R'O'JWWKX]'3. -$7' $(C+*' 4%%DR' <%%!")' :$%%4' O' PSWKXZ>' gray ceiling S 6000­N, plaster walls painted white S 1500­N, one painted green'O'[WKWX\>';$?6B'6=4*?()9'O'TWWWXM7'

The illuminance measured during the visit was:

1. Atrium: 1750 – 2300 lux on walls, 1300 – 6800 at tables, 920 lux at the counter

2. Skylight room: 1200 – 1650 lux on walls, 1350 – 2550 on the floor

3. El. light room: on white walls 150­200 lux, 800 – 1050 lux at the center of light

spots and objects, 50 lux on the green wall, 300 – 800 lux on the table 1500 – 2000

lux on the daylighted reveals.

The evaluation results for some of quality descriptors used in the PERCIFAL project are

presented in figures 5 and 6; 7 steps differential.

!"#$%&'()('

0

5

10

15

20

dark light

Atrium Skylight El. Light

!"#$%&*"+%,"-.%"/0

0

5

10

15

20

even varied

Atrium Skylight El. light

Figure 5. Evaluation results for Light level and Light distribution.

Figure 6. Evaluation results for Temperature and Unity of coloration

571AIC 2011 MIDTERM MEETING, ZURICH – INTERACTION OF COLOUR & LIGHT IN THE ARTS AND SCIENCES – PROCEEDINGS

4. Conclusions and discussion The Atrium was described as most colourful, open and playful/alive of all rooms but also as the

D%9*'6%D:%4*?;$"7'H+"'6%$%=4'6%D&%9(*(%)'<?9'D%9*'#(C%4%=9'%:'?$$'4%%D97']%*+>'*+"'6+4%D?*(6'red­green contrast and the luminance contrast between walls and window frames are strong. The

6%$%=4"!'C$?99'%)'*+"'4%%:'?&&"?4()C'?9'4"F"6*(%)9'%)'*+"'<()!%<'C$?99'6%)*4(;=*"!'&4%;?;$E'*%'the impression of the space being playful/joyful. Since it was the only room having strongly

chromatic, warm and bright colours, there is an indication about the coherence between the

occurrence/absence of such colors and the impression of the room being respectively serious/

severe versus lively/playful.

The Skylight room was described as lightest, most spacious, and most serious/ascetic of all

rooms. At the Light level differential it was evaluated as the lightest one despite of the fact that the

measured illuminance was somewhat lower than in the Atrium. Since the room has the coldest and

the most uniform colouration, with nearly no colour or luminance contrasts, it is very probable

that the clear impression of lightness and spaciousness is strengthened by this faint, cold and

uniform coloration.

The Electrical Light room was liked least of all. It was described as most dark/gloomy,

most calm/quiet and most intimate of all rooms. The room was evaluated as darkest in Light level

and most varied in Light distribution, something that is in agreement with measured illuminance

values. The very high illuminances at window reveals, caused by sunlight, were evaluated as

glary by 7 subjects and gave an important reference.

The PERCIFAL method was evaluated as a very useful tool for helping to observe, analyse

and better understand spontaneous evaluation of visual qualities of architectural space. Most

concepts were easily understandable, besides of 7>9.*0,1(19A9.63/- and modelling. To improve the method the scale for modelling could be changed to e.g. planar – three­dimensional instead of

diffuse – clear. The skin colour was evaluated as most natural, the textures as most clear and it

was easiest to read in rooms with daylight predominance. The clearest correlation in this survey

was found between illuminance values measured in a room, the score at the Light level differential,

@C7'S>'?)!'*+"'$()C=(9*(6'!"964(&*(%)'%:'*+"'4%%DR'%&"))"99A9&?6(%=9)"99'#"49=9'!?4B)"99AC$%%D(Xness.

ReferencesFridell Anter, K. (ed.) 2006. Forskare och praktiker om FÄRG, LJUS, RUM, Stockholm: Formas.

14(!"$$'2)*"4>'f7>']($$C"4>'`7'KWJW7'Colour research with architectural relevance: How can different approaches gain from each other?'/%$%4'."9"?46+'?)!'2&&$(6?*(%)'#%$'GSRK>'&'JPSXJSK

fg$$"4>'.7']?$$?$>'O7'3"(B">'H7'`(B"$$(!"9>']7'?)!'H%)"$$%'\7'KWWY7'The impact of light and colour on psychological mood: A cross­cultural study of indoor work environments'-4C%)%D(69'#%$'PT>'&'JPTYXJSW[

Liljefors, A. 2006. Ljus och färg i seendets rum, I: Fridell Anter (ed.): Forskare och praktiker om FÄRG LJUS RUM,

Stockholm: Formas 2006 p 229­250

`?*=9(?B>']7'KWWP7'%59(3+>,.6(/=(034563-4D2,8034563-4(,-2(19A9.6,-.97(/-(659(73E9(3+>19773/-(/=(659(1//+F(G*00$7.,09(studies.'246+(*"6*=4?$'O6(")6"'."#("<'#$'P[RK7

Address: Barbara Matusiak, Department of Architectural Design, Form and Color Studies, Norwegian University of

!.39-.9(,-2(%9.5-/0/48?(H0=192(@96E(I93(J?(KLMN(%1/-2593+?(#/1;,8E­mails: barbara.matusiak@ntnu.no, 5,1,02F,1-O30P,,06/F<, karin.fridell.anter@konstfack.se, ulf.klaren@konstfack.se